Donor: Miguel Hun / Accession number: Acc.4518 / Function: 2.0 Use not specified (Secular Dress and Accoutrements, and Adornment) - Hearst Museum Portal Search Results

Start Over Donor Miguel Hun Accession number Acc.4518 Function 2.0 Use not specified (Secular Dress and Accoutrements, and Adornment)

Hearst Museum object titled Huipil, accession number 3-29987, described as Backstrap-loomed, warp-faced plain weave; single-faced support weft brocading; three pieces joined together with hand-stitching; 2 end selvages loom-finished; other 4 are cut warps that create fringe; headhole cut out and finished with hand stitching. 77.5 cm x 74 cm. Native name and meaning: Huipil/Woman's Blouse. Materials, techniques: Cotton: 3 singles, red; 1 two-ply white, white, orange, green, pink, aqua, brown and maroon. Context of use: Collected by Miguel Hun, and donated to the Museum in 1991. Upper half of this textile is dominated by support weft brocading in dense, bright acrylic yarns; bottom half has red and white vertical stripes on sides lienzos, white central lienzo has thinner yellow/white/red stripes. Lienzos are joined by hand-stitching on the wrong side of the Huipil manufactured n 1983. Iconography consists of crosses, starts, geometrics, and vertical stripes.

Hearst Museum object titled Huipil, accession number 3-30001, described as Backstrap-loomed, plain weave; two faced supp. weft brocading; one piece; end-selvages loom-finished. 46 cm x 68.5 cm Cotton: 2 singles in white; 2 two-ply in white, red, blue, orange, light and dark green, yellow and pink; 6 two-ply in white, yellow, green, dark and light blue, orange, maroon, lavender. Huipil is not sewn together to create a garment. Typical San Pedro Necta style with warps turned sideways for width of garment and the end selvages (wefts) on the top and bottom; this is the only town that has this sideways layout. Iconography consists of geometric motifs and warp strips.

Hearst Museum object titled Textile, accession number 3-29993, described as Backstrap-loomed, warp-faced plain weave; one piece; end selvages loom-finished. 60 cm x 66 cm. Native name and meaning: Tzute de Mujer/ Woman's multipurpose cloth. Materials, techniques: Cotton: 12 singles in red; two-ply in purpose, yellow, green, lavender, and black/white (fake jaspe). Context of use: Collected by Miguel Hun and donated it to the Museum in 1991. Multicolored width of warp stripes punctuated by "fake jaspes"; some weft knots and exposed wefts protrude out from the otherwise completely covered wefts; selvages show red-weft as wrap stitch. Purchased between 1980-1985 (Hun). A fake jaspe effect occurs when black and white yarns are twisted together and used as a weft (Schevill).

Hearst Museum object titled Textile, accession number 3-29992, described as Backstrap-loomed, warp-predominant plain weave; two-faced support weft brocading; one piece; warps cut and hand-hemmed. 129.5 cm x 109 cm. Native name and meaning: Tzute de mujer/ Woman's multipurpose cloth. Materials, techniques: Cotton: 1 two-ply in white; 2 two-ply in red, purple; 12 two-ply in red and purple. Context of use: Collected by Miguel Hun who donated it to the museum in 1991. Narrow wefts of red, purple join white background. Support weft is dense in 2 colors (red, purple with central area woven in double-headed eagle motif, bordered by stars and other geometric motifs. The collector stopped in Villa Nueva, south of Guatemala City, in a market where they were selling produce and weaving cortes. Collector saw a woman from Palin carrying a small tzute from whom he commissioned one. Six months later, she presented him with this large one of usual width--tzutes are generally smaller than this textile (Hun).

Hearst Museum object titled Textile, accession number 3-29985, described as Backstrap-loomed, warp-face plain weave; single-faced supp. weft brocading; one end loom-finished and the other end has warps cut; knotted to create a fringe. 48.5 x 51 cm. Native name and meaning: Tzute, Hombre de Cofradia/ Man's ceremonial cloth. Materials, techniques: Cotton: 2 singles in light blue, white; 3 singles in red, dark blue; 5 singles in red; silk floss in purple, lavender, and light blue. Context of use: Collected by Miguel Hun and donated to the museum in 1991. This nearly square piece has red/white striped background with wide dark blue central warp stripes and light blue narrow warp stripes throughout the piece; bands of chevrons in silk; loose warps are twisted and knotted together to create a multicolored fringe.

Hearst Museum object titled Textile, accession number 3-29974, described as Handband-loomed, weft-faced plain and tapestry weaves; one piece; warps cut then looped and knotted into added silk fringe. 258.5 cm x 4.5 cm. Native name/meaning: Cinta/headband. Materials, techniques: Cotton: 2 singles in red, 3 singles in white; Artisela (artificial silk) in multicolors. Context of use: Woven in Totonicapan for use in this town (San Juan Sacatepequez). This colorful cinta relates directly to two others (3-29703 and 3-29704) in design, techniques, and locale. Silk floss added through looped warps of white cotton to create fringe on each end; fringe is approximately 4.5" long. The collector commented on the large stain on the central red portion, which he said was blood; this stain occurred in the 1980s. Iconography consists of ducks, rabbits, geometrics and horizontal stripes.

Hearst Museum object titled Textile, accession number 3-29981, described as Backstrap-loomed, warp-predominant plain weave; two-faced supp. weft brocading; one piece; loom-finished. 46 cm x 24 cm. Native name/meaning: gorra/child's cap. Materials, techniques: Cotton: 2 and 3 singles, red; 2 two-ply in blue and green. Mercerzied cotton: 8 two-ply in blue, yellow, green, lavender, pink, orange, purple, and maroon. Context of use: Collected by Miguel Hun in the 1980s and donated to the museum in 1991. Red background with narrow blue warp stripes and .25" green warp stripes on both selvages. One band each of hens (1.5" wide) and "avispas" (1" wide) and two bands of geometric motifs (7/8" wide). All the supp. weft brocading is located on one selvage end of the textile. To create the cap, the two ends are joined an shaped according to the young child's head.

Hearst Museum object titled Textile, accession number 3-29995, described as Treadle-loomed, twill weave; one piece; both warps and one side (wefts) selvage are cut, to create fringe. 61 cm x 25 cm. Native name and meaning: Perraje/Shawl. Materials, techniques: Cotton: 2 single in white, blue, and dark blue; 3 singles in red, possibly alizarin. Context of use: Collected by Miguel Hun, who donated it to the museum in 1991. Overall plaid appearance in "hound's tooth" design; warps and wefts on one side are knotted together and twisted into fringes. Red dye may be alizarin (Schevill). "Observe double-ikat patterning" (Hun). This is not true ikat; the twill weave with blue and white color change give the ikat effect. Iconography consists of diamonds, checker-boarded motifs create plaid.

Hearst Museum object titled Textile, accession number 3-29983, described as Backstrap-loomed, warp-faced plain weave; two-faced supp. weft brocading; one piece; end selvages loom-finished; commercial tape ties 10" long at top; tape is hand-stitched on sides and along bottom. 73.5 cm x 49.5 cm. Native name/meaning: Delantal de Santo/Saint's Apron. Materials, techniques: Cotton: 8 singles and 1 two-ply in yellow. Cotton: 12 singles in red, yellow; Sedalina: 4 two-ply in lavender, green, red, dark blue; 8 two-ply yellow; silk floss in magenta and purple. Contest of use: Collected by Miguel Hun and donated to the museum in 1991. There is a variety of supp weft yarns including silk, sedalina, and cotton. Faded blue commercial bias tape is hand-stitched down with blue yarn on sides and bottom; weaver probably embroidered these words in cursive, "Clemente Suburjuz, 9 de Febrero de 1949 o 1950" across two bottom zones of yellow background. Yellow color looks similar to one Arriola de Geng identified as "old." Hun wrote: "It was aquired in 1981-1982. I used to call is "El Engano (The Deceit) because Flor from the Ixchel Museum told me it was recently made. As I recall it has silk mixed with cotton in its brocade. It makes me think that the aprin was in fact authentic, because of the silk itself. The apron comes from the San Juan and San Pedro Sacatepequez area which makes it of Kakchikel origin. As you well know, aprons are used to cover the saint's sculpture in the cofradia. 1st row: stars--Venus. 2nd row: peacocks, 3rd row: probably worms typical of the area, 4th row: turkeys, chompipes, 5th row: horses, caballos, 6th row: hens or roosters, gallinas or gallos.

Hearst Museum object titled Textile, accession number 3-29973, described as Backstrap-loomed, warp-faced plain weave; one piece; ends cut and finished off with embroidery; fringe at each end is added on and approximately 8" long. Fringe is multicolored, although each section of color is plied together to create monochrome strands; these strands are then knotted at the ends. 146.5 cm x 6.5 cm. Native name/meaning: faja mujer/woman's belt. Materials, techniques: Wool: 2 singles in black, 1 two-ply in black and white. Embroidery: silk floss in blue, gold, orange, peach, purple, and pink, Context of use: This kind of black and white striped belt is woven in Chichicastenango and other highland towns but is adapted to local styles in other towns. This is done by using specific iconography, in this case worms. The fringe is multicolored two-ply cotton, twisted and knotted and is attached to ends of belt via hand-stitching. A similar style of belt is used in Santo Domingo Xenacoj. (Schevill:60). Iconography consists of worms ("gusanos") and vertical stripes.